g here, the first room I enter is the King's reception-room. This
is a very bright looking and expensively fitted apartment, furnished in
electric blue and gold, massive gold-framed panels, and a ceiling
decorated in relief with arms and mottoes in gold and white. The
chimney-piece is purest marble, the frescoes showing crowns, arms, etc.
The candelabra are over-burnished brass and Dresden china, some
being Japanese.

[Illustration: THE QUEEN'S BALL-ROOM.
_From a Photo. by Gunn & Stuart, Richmond._]

The next room is most interesting, for it is a small ball-room, the
ball-room in fact of Her Majesty the Queen. It has a beautiful inlaid
floor, a white ceiling worked in relief, crimson and gold curtains, and
furniture of the First Empire, some of it upholstered in gold silk, with
a variety of colours intermixed. Here are shown some priceless Sevres
china, and a present of vases from the Emperor Napoleon. Also I note a
fine marble vase from the King's Palace in Luxemburg. On the wall are
some handsome gold-framed mirrors, and from the ceiling costly
chandeliers with two hundred and twenty lights. The mantel is
exquisitely carved marble, with an ormolu frieze. On one side you will
note a small piano; it is a French one, of very clear and fine tone, and
beautifully finished in every respect. In this room Her Majesty the
Queen may be imagined enjoying the balls given to the youthful
aristocracy, something different to the State dances in the larger room;
and, doubtless, by a long way, much more enjoyable. By the time the
Queen can command the State balls, she will have commenced to feel the
cares of her position; and will look back with real regret to the
assemblies here, when she had merely to enjoy herself, a devoted mother
observing the graver duties, her own greatest trouble, perhaps, being
the acquirement of the tasks assigned by the governess and masters.

[Illustration: THE LARGE DINING-ROOM.
_From a Photo by Gunn & Stuart, Richmond._]

The large dining-room has some fine family portraits on its walls. The
first you will notice is that of William II., on horseback, leading an
attack; the artist (Keirzer) has produced a first-rate work of both man
and horse. Underneath this picture stands the favourite horse of William
II., one which carried him through numerous engagements, and earned from
his Royal master a gratitude and affection that caused him to wish for
his preservation in a position where he would constantly